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[…]metrics are carefully designed to discern spending habits and time allocation. World views and critical evaluations are precisely what go missing in corporatized social media – not just from the uncritical inclusion of any and all literary writing in scholarly databases tagged for categorical distribution, but in the “digital humanities” generally, a scholarly emergence(y) that, for all of its “infinite ungraspable” canons of creative and scholarly work has yet to establish, in academia anything approaching a widely shared curriculum for literary studies of born digital writing and scholarship. In 2014, a “decade-plus” into “the emergence of digital humanities (DH),” David […]
[…]breakdown of that chain of causality that brings forth text and images through the mechanism of code. By having code literally erase itself (more accurately, by having the PHP script erase or corrupt the corresponding HTML file) in response to user interaction, Tisselli precludes this digital erasure of word for action, making code, in its full, material thingness, apparent to its users. Viewing the works today and being presented the narrative of their respective processes of breakdown in this way obliges the viewer to confront obsolescence – the gradual wearing down of each work’s instrumental functionality – in a way […]
[…]Practice, vol. 14, no. 2 (2013): 147-160. Nacher, Anna. “Migrating Stories: Moving across the Code/Spaces of our Time”, Hyperrhiz: New Media Cultures, special issue “Other Codes / Cóid Eile”, no. 20 (2019). http://hyperrhiz.io/hyperrhiz20/. Accessed 30 Sep 2019. O’Sullivan, James. “Electronic Literature in Ireland.” Electronic Book Review, 11 April 2018. https://electronicbookreview.com/essay/electronic-literature-in-ireland/. Accessed 10 Jul 2019. O’Sullivan, James, Órla Murphy, and Shawn Day. “The Emergence of the Digital Humanities in Ireland.” Breac: A Digital Journal of Irish Studies, 7 Oct 2015. https://breac.nd.edu/articles/the-emergence-of-the-digital-humanities-in-ireland/. Accessed 10 Jul 2020. O’Toole, Fintan. The Lie of the Land: Irish Identities. Verso, 1997. Pagel, Walter. “The Paracelsian Elias Artista […]
[…]of research. DS: Canada has many research resources and labs dedicated to digital arts, media studies, and digital literary studies, including Caitlin Fisher’s Augmented Reality Lab in Toronto, Brian Greenspan’s HyperLab in Ottawa, Karis Shearer’s AMP Lab in Kelowna, Marcel O’Gorman’s Critical Media Lab in Waterloo, and your own NT2 Lab in Montréal. Are there other Canadian labs or resources you’d like to foreground in particular? BG: I think we could add to this list of major projects, the Ex Situ Laboratory, led by René Audet at Université Laval, which focuses on digital literature and culture, as well as on […]
[…]travels go from allusions to NASA’s Goddard Space Flight Center (a research center that studies the Earth, the sun, the solar system and the universe, which was built in memory of physicist Dr. Robert Hutchings Goddard), to Marina Vlady’s scene shots and glimpses of the city of Paris in “Two or three things that I know about her.” Resembling the representation of Hydra’s twisting snake in the sky, the reader is caught in the twists of language that revolve within the constellations imaginaries: Godard? Goddard? God? Art? The process of “deconstructing” HYA shows that the voices of Wittgenstein, Derrida, Godard, […]
[…]or “commented upon” Carpenter’s work, but it is very rare that a literary scholar does the critical work of close reading it. Refreshingly, Watts does indeed give Carpenter’s work the critical attention it deserves, providing astute close reading and literary analysis throughout. Watts’s analytical approach to Entre Ville reveals, too, the strangeness of the critical neglect of new media writing in Canada because Entre Ville, like so many electronic literary works, is “specially positioned to explore the traditionalism inherent in mainstream conceptions of literature, literary culture, and cultural production–including most especially parallels between Montreal literature and new-media literature.” That mediated […]
[…]that, I [wondered]: what would experimental poets of the [nineteen] twenties be doing? They’d be working in hypertext, they’d be working in these areas. Then there was kind of no turning back. I thought electronic literature is actually sort of the end game for where all of that was going. It was super fun! I’ve written about it elsewhere, but the dissertation itself I was enormously proud of. Writing it changed me. Image from Fisher’s dissertation. Source: Caitlin Fisher. There were really no readers for it at the time I produced it. It wasn’t even archived. The electronic literature piece […]
[…]projects. Its concerns range from autoethnography to close reading to something like critical code studies, from the abstractions of Wallace Stevens to the polychrome delights of “trash spinning.” It is both a critical study and a guide to creative practice. The mixed nature of the work flows from our subject, which is both a tool for making and a made thing. Twine is an unlikely proposition—a software platform crafted entirely by volunteers, some of whom have never met in person, and a worldwide community of creators who explore and expand the platform. To understand this phenomenon, we do a kind […]
[…]Hi, everyone. I’m Jin Sol, I’m also a Co-Editor on the special issue of tdr and ebr, “Critical Making, Critical Design”. I am currently going into my fifth year of the PhD at the University of Waterloo. I’m in the department of English and I am studying the cross sections of critical race theory and digital photography. LL: Cool. Thank you, Jin Sol. So let’s start off with a land acknowledgement. So based in [00:01:00] Canada, the electronic book review would like to acknowledge that this land is made up of more than 630 First Nations communities representing more than […]
[…]systems and other materials—entangling cameras, satellites, drones, web graphics, esoteric code, academic writing, and the printed codex, exploring what their contingent exchanges can reveal about the structures, dynamics, and possibilities of sensing across the contemporary environment. The hybrid art-texts generated by these activities are thus better understood in light of their complex origins, deriving their creative and critical force as much by encouraging reflection on these varied aspects and processes, as the actual markings left behind. Landform An artistic gesture that I am presently exploring is the use of image generating technologies for producing creative textual outcomes. Specifically, I am […]